you can make the sun shine.

really really great album by robbie basho. another guitar wizard.

hang onto each other.

it's no little secret that i absolutely love everything that fahey does, & this album definitely doesn't disappoint.

It's wrong to create heroes; it's not possible for them to fit the perverse folds of one's imagination.

Well, this marks my 10th post and I'd love to hear some feedback from you guys. You must be tired of Brazilian music, amirite? If so, fortunately I've decided to divert from it a little and dedicate this one to my jefe and accomplice, ryan (I hope you haven't listened to this one already, buddy).

Acknowledging I'm far from being literate in North American music history, it's quite evident, though, how essential John Fahey's sub-chapter was, whether ethnomusicologically or compositionally -- in a similar fashion to Lomax, even though each one excelled in a different field.

I was starting to really get into Cul De Sac (one of my favorites bands until today) when I first heard this album, and having listened to one thing or another from Fahey, I thought it would blow my brains out.

Yeah, I'll admit It wasn't quite like that. This is something you'll probably read around there: at a first listen, the album doesn't sound exactly a collaboration, but a Fahey/Cul De Sac split, with no real interaction between them. I listened to a couple of songs and kinda gave up.

But just like with alcohol, when I got older -- and after getting more in touch with Fahey's works -- I gave it another try and suddenly felt something very compelling about it. And then I would find the missing jigsaw piece [for those who owned a physical copy of the disc *cough*, this was no secret at all]: Glenn Jones' liner notes on making the album. One would argue that music should speak for itself, which I agree in some extent, but sometimes music simply isn't big enough to embrace the life which surrounds it. As Fahey would put, through Jones, "recording is an opportunity to be in touch with his inner self and his emotions", and likewise, notes are somewhat a more intelligible way to translate the relationship between the artist and his work.

I'll go so far as saying that reading the piece is equally inspiring as listening to the album, so go ahead, print it, frame it and place it over yr bed.

pw: spooked

cop killer.

Following the fulfillment of his two-album contract with Reprise Records and lackluster sales, Fahey was released from Reprise and went back to recording for his own Takoma label.

Fahey originally dedicated the album to Swami Satchidananda, but later said the primary reason he was involved with the "spiritual community in the mountains of Lake County, Northern California" was because he was in love with the Swami's secretary. Relating the background to the recording of Fare Forward Voyagers to Byron Coley in his article "The Persecutions and Resurrections of Blind Joe Death", Fahey recalled "Probably the primary reason I got involved with them was that I fell in love with Swami Satchidananda's secretary, Shanti Norris. So, I was doing benefits for them, hoping to score points with her, and along the way I learned a lot of hatha yoga. I could go over there and get food any time I liked. I didn’t believe in Krishna or anything. It was like being in the middle of The Thief Of Baghdad.”

The album and song titles are from American poet T.S. Eliot's "Four Quartets" set of poems. Fahey later said the songs were "too demanding" to play live.

An earlier version of the title track was released on the 2006 reissue of The Yellow Princess. Themes from "Requiem for Russell Blaine Cooper, "When the Catfish Is In Bloom", and "Dalhart, Texas 1967" can be found in the three songs. - wikipedia

fahey is on some godtier shit with this record. enough said.